Re: Digest Number 300

>Carl!
> I have experimented with some various models with the following the
>one that seem to work the best. Taking the spacing of the chord, you then
>add the harmonics without any octave reduction and the first order
>difference tones omitting any repeats of harmonics. It is a formula in
>progress and would appreciate your feed back as to Lullaby at
>http://www.anaphoria.com/tun.per.html . It is arrange from con. to dis.
>based on the this formula so we have something to try with our EARS and the
>more EARS the better!

It shows A# and D alone as more dissonant than the dyads CG?

-C.

Carl Lumma wrote:

> From: Carl Lumma <clumma@nni.com>
>
> >Carl!
> > I have experimented with some various models with the following the
> >one that seem to work the best. Taking the spacing of the chord, you then
> >add the harmonics without any octave reduction and the first order
> >difference tones omitting any repeats of harmonics. It is a formula in
> >progress and would appreciate your feed back as to Lullaby at
> >http://www.anaphoria.com/tun.per.html . It is arrange from con. to dis.
> >based on the this formula so we have something to try with our EARS and the
> >more EARS the better!
>
> It shows A# and D alone as more dissonant than the dyads CG?

I guess the logic is if you hear these as the intervals that they are a 7 or a
9 they would be more dissonant. you could only hear these this way if a
fundamental was already established. Just tried it and yes if i play a CG then
A# or D they sound more dissonant. Both have a slight tinge of wanting to
resolve. All in all numbers that are close together are really hard to
distinguished. On the other hand, it considers that all inversions of a tetrad
are not the same order of dissonant. Something Helmholtz shows, that both the
odd or prime system seem to ignore.

>
> -C.

-- Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com